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- Dissertation Bibliography from LISTSERV@Uottawa or LISTSERV@Acadvm1.Uottawa.CA as SHAMAN-1 BIBLIO This bibliography is also available from the CONTENTS Project FTP server (PANDA1.UOTTAWA.CA or 137.122.6.16) as SHAMAN-1.TXT (low ascii text without indentation) Copyright (C) 1991 by Maureen Elizabeth Korp. All rights reserved. No part of this document may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of the author, Maureen Elizabeth Korp. For more information about this dissertation, contact: Maureen Elizabeth Korp Religious Studies Department University of Ottawa 177 Waller Ottawa, Ontario CANADA K1N 6N5 (613) 237-2052 (voice) (613) 564-6641 (fax) E-Mail Address: <MKORP@UOTTAWA> Bitnet <MKORP@ACADVM1.UOTTAWA.CA> Internet ========================================================== EARTHWORKS: SHAMANISM IN THE RELIGIOUS EXPERIENCES OF CONTEMPORARY ARTISTS IN NORTH AMERICA by Maureen Elizabeth Korp Dissertation presented to the Graduate School of the University of Ottawa as partial fulfillment of the requirements for the degree of Doctor of Philosophy (Religious Studies) Thesis Supervisor: Robert Choquette, Ph.D. Ottawa, Canada 1991 Maureen Elizabeth Korp, Ottawa, Canada, 1991. Volume I CONTENTS Acknowledgements iii List of Illustrations xi List of Tables xiv Abstract xvii page Introduction 1-43 Kratophany and Theophany 5 Earthworks 16 So-called "Primitivism" 19 Intellectual and Scholarly Interpretations 21 Shamanism and the Artist 25 Statement of the Problem 30 Outline of the Approach 34 Endnotes 41 PART I: THE PROBLEM OF EARTHWORKS AS SACRED SPACE Chapter page 1. Ancient Earthworks in the New World 45-107 Marks upon the Land 48 A Structured Cosmology 55 A Typology of Set-Apart Space 63 "The Earth is My Mother" 81 Impact of Language 87 Conclusions 92 Endnotes 95 Volume I CONTENTS Chapter page 2. The Sacred Place: Theoretical Considerations 108-180 Recognition of the Sacred Place 111 Two Sites--sacred or non-sacred? 120 The Art Historian's Approach 124 The Religious Approach of Mircea Eliade 128 The Application of a Sacred Place Typology 134 Esoteric and Occult Interpretations 149 Aesthetic Response 151 Animism as Kratophany 154 Summary 165 Endnotes 171 3. The Contemporary Earthwork in the New World 181-250 The 1969 "Earth Art" Exhibition 185 Site Specificity and the Earthwork 191 Sun Tunnels 196 Complex One/City 200 Lightning Field 205 Spiral Jetty 209 Star Axis 216 Roden Crater 223 The Contemporary Earthwork as Sacred Place 232 Endnotes 240 Volume I CONTENTS PART II: THE SHAMAN AS ARTIST (THE ARTIST AS SHAMAN) Chapter page 4. The Artist's Shamanic Vision 252-314 The Shaman 255 The Shaman and the Artist 257 Lascaux as an Example of Shamanic Art 259 Other Primal Examples of Shamanic Art 264 Style Characteristics 267 Phosphenes and Photisms 269 The Shaman's Vision 273 The Earth-Centered Vision 276 The Artist's Vision 282 A Re-Appraisal of Artistic Vision 286 Conclusion 293 Endnotes 298 PART III: WHAT THE ARTISTS SAY: AN EXPLORATORY STUDY OF A GROUP OF NORTH AMERICAN ARTISTS Chapter page 5. Survey Design and Administration 316-356 Some Methodological Issues 317 Design of the Questionnaire 324 Format of the Questionnaire 327 Survey Participant Selection 330 Response Rate to the Questionnaire 334 Interview Procedures 339 Interviewing 340 Interview Text Verification 343 Participant Follow-up 345 Conclusions 346 Endnotes 349 Volume I CONTENTS Chapter page 6. The Artists' Questionnaire Results 357-425 Statistical Profile of the Artists Surveyed 362 Summary of the Group's Statistical Profile 379 Questions concerning Artistic Vision and Inspiration 350 Summary of the Group's Shamanic Experiences 397 Earthworks and the Artists 398 The Artist's Empathy for Native Peoples 403 The Artist's Experience of Kratophany 413 Conclusion 416 Endnotes 423 7. Interviews with the Artists 426-517 The Artist as Shaman 428 Franz Geierhaas's Study of 15 Artists 432 Selection of the Artists To Be Interviewed 436 Views on Religion and Religious Art 438 The Power of Art 445 Views on Nature 448 The Artists' Visions 452 Work Routines 462 A Proprietary Point of Discussion 466 Earthworks in America 476 The Artist's Community Role 492 Conclusion 498 Endnotes 501 Volume I CONTENTS PART IV: LAST WORDS AND FURTHER THOUGHTS Chapter page 8. The Earthwork as Geo-Metaphor 519-554 With Words and Pointing Fingers 520 Art as a Religious Discipline 527 The Rigney and Smith Study 530 The Barron Study 533 The Gallup Poll on Religious Experience 536 Studies of Psychedelic Agents, Mysticism, and Creativity 539 The Buffalo Commons 540 The Earthwork as Geo-Metaphor 543 Afterword 549 Endnotes 550 Volume II CONTENTS page APPENDIX 1. Artist's Questionnaire: Sources of Archaic Motifs in Contemporary Art 2 Consent for Artist's Interview: Procedure and Interview Form 8 APPENDIX 2. Artist's Interview Text anonymous 14 Lorenzo Baca 23 Rick Bartow 35 Betsy Damon 45 Jennifer Dickson 55 Martin Dunn 64 Anita Endrezze 75 Andy Fabo 84 Donna Henes 94 Peter Hutchinson 105 Alex Janvier 115 Ann McCoy 122 Eva Manly 138 Jody Pinto 147 Charles Ross 155 Jim Schoppert 169 Tal Streeter 178 Meryl Taradash 196 Carla Whiteside 209 APPENDIX 3. Curriculum 220 WORKS CONSULTED 221 Volume I List of Illustrations figure page 1. Gary Dwyer. "Mea Culpa, My Fault." 2 2. James Turrell. "Roden Crater." 3 3. Charles Ross. "Star Axis." 4 4. Alex Janvier. "Fort Simpson." 6 5. Jody Pinto. "Split Tongue Pier." 7 6. Meryl Taradash. "Waves." 8 7. Betsy Damon. "Memory of Clean Water." 9 8. Jennifer Dickson, R.A. "Memories and Dreams: Villa Torrigiani di Carmigliano, near Luca, Italy." 10 9. Monks Mound, Mississippian, East St. Louis, Illinois. 57 10. Flat circular architectonic shapes. 65 11. Flat rectilinear architectonic shapes. 66 12. Conical architectonic shapes. 67 13. Enclosed rectangular architectonic forms. 68 14. Dome-shaped architectonic forms. 69 15. a. Cutaway view of a Thompson Indian pit house, c. 1900; b. Montezuma's Castle, Sinaqua, c.1250. 70 16. Great Serpent Mound, Adena, Peebles, Ohio. 75 17. a. Reconstruction of the central district of the Poverty Point, Louisiana, site, c.1000 BCE; b. detail of the Poverty Point "monster mound." 76 18. Moose Mountain Medicine Wheel, Saskatchewan. 141 19. Ancient lava flow, Oahu. 146 20. Nancy Holt. "Sun Tunnels." 197 Volume I List of Illustrations figure page 21. Michael Heizer. "Complex One/City." 202 22. Walter de Maria. "Lightning Field." 206 23. Robert Smithson. "Spiral Jetty." 210 24. Charles Ross. "Sunlight Convergence/Solar Burn." 217 25. Composition with images of a shaman, bison, and a rhinocerous, from the cave of Lascaux, France, c. 17000 BCE. 262 26. Manitokanac figure, Ojibway, c. 1870. 281 Volume II 27. Lorenzo Baca. Polychromed wood table. 24 28. Rick Bartow. "Protection." 36 29. Betsy Damon. "Shrine for Everywoman." 46 30. Jennifer Dickson, R.A. "The Fountain of Queen Dona Maria, Queluz." 56 31. Martin Dunn. "Self-portrait," colourized videotape. 65 32. Anita Endrezze. Book plate design. 76 33. Andy Fabo. "Sweat Lodge Vision." 86 34. Donna Henes. "Cocoon Ceremony." 95 35. Peter Hutchinson. "Floating Calabash, August 1969." 106 36. Alex Janvier. "Apple Skydome." 117 37. Ann McCoy. "Altar." 123 Volume II List of Illustrations figure page 38. Eva Manly. "Seaweed Circle." 139 39. Jody Pinto. "Fingerspan Bridge." 148 40. Charles Ross. "Star Axis" excavation site, view S. 157 41. James Schoppert. "Blueberries." 170 42. Tal Streeter, "Dragon Stair." 179 43. Meryl Taradash. "Wings of Light." 197 44. Carla Whiteside. "Le Premier Recit: Qui la separait des tenebres (The first book: was divided from the darkness)." 210 Volume I List of Tables Table page 1. Summary of Raw Materials, Structural Types, and Built Forms in Amerindian Architecture 73 2. Artist's Questionnaire Response Rate 337 3. Highest Level of Education Completed by Ethnicity 363 4. Studio Art Training by Sex 364 5. Religious Site Travel by Ethnicity 365 6. Impact of Religious Sites 367 7. Knowledge of Multiple Languages by Ethnicity 368 8. Cultural and Ethnic Groups with whom the Artists Empathize 370 9. Reasons for Empathy with Another Group 371 10. Important Personal Life Crisis Events 372 11. The Experience of Loss or Disappointment in Love as an Important Life Crisis Event by Sex 373 12. The Experience of a Joyful Event as an Important Life Crisis Event by Sex 374 13. The Experience of Racism as an Important Life Crisis Event by Sex 374 14. The Experience of Sexual Hurt as an Important Life Crisis Event by Sex 375 15. The Experience of Harm, Hurt, or Loss of Another Person as an Important Life Crisis Event by Ethnicity 375 16. The Experience of Racism as an Important Life Crisis Event by Ethnicity 376 17. Change in Religious Identification: Artists' Childhood and Adult Affiliations Compared 378 Volume I List of Tables Table page 18. Sex Difference in the Experience of Kratophany 381 19. Frequency in Artist's Lifetime of Visionary Experiences 386 20. Sex Difference in the Age for Obtaining a Vision 387 21. Types of Paranormal Experiences Reported by Artists 390 22. Sources of Influence upon Arts Imagery 397 23. Ethnicity Difference in Personal Interest in Earthworks 399 24. A Comparison of Interest in Earthworks and Types of Paranormal Experiences Reported by Artists 400 25. A Comparison of Interest in Earthworks and Visionary Experiences Reported by Artists 401 26. A Comparison of Interest in Earthworks and the Selection by Artists of Earth or Blood as the Most Important for Their Own Artwork of Four Archaic Motifs (Blood, Water, Earth, Sun) 402 27. A Comparison of Interest in Earthworks and Travel to Religious Sites by the Artists 403 28. A Comparison of Interest in Earthworks and Highest Level of Education Completed 403 29. Reasons for Empathy with Native Peoples and/or Other Ethnic Groups 406 30. Frequency in Artist's Lifetime of Visionary Experiences among Those Expressing Feelings of Empathy for Native Peoples 407 31. The Experience of Kratophany among Those Expressing Feelings of Empathy for Native Peoples 407 32. The Experience of Religious Conversion among Those Expressing Feelings of Empathy for Native Peoples 408 Volume I List of Tables Table page 33. Childhood Religious Affiliations among Those Expressing Feelings of Empathy for Native Peoples 409 34. The Experience of Personal Hurt among Those Expressing Feelings of Empathy for Native Peoples 410 35. Belief in the Ability of Art to Heal among Those Expressing Feelings of Empathy for Native Peoples 410 36. Migratory Travel away from Home to Work on Site among Those Expressing Feelings of Empathy for Native Peoples 411 37. Travel to New World Archaic Sites by Those Expressing Feelings of Empathy for Native Peoples 411 38. Visionary Experiences among Those Reporting Instances of Kratophany 415 39. Paranormal Experiences among Those Reporting Instances of Kratophany 415 40. Influence of Paranormal Experiences upon Artistic Endeavors among Those Reporting Instances of Kratophany 415 Abstract Within the last 30 years a number of earthworks have been built by artists, primarily in North America, but extant examples are known elsewhere in the world. These artworks are not intended to be bought and sold or displayed within the usual gallery-focused art distribution system. They are site-specific works, often located in remote, hard-to-reach areas. Curatorial documentation is sometimes incomplete. Some artists do not even list their earthwork projects on their resumes. What then is the purpose of the contemporary earthworks? They appear to be similar in siting and materials to archaic earthworks which we assume to be sacred in intentionality. Are the contemporary works also religious statements of sacral orientation? In this exploratory study, 203 questionnaires were sent to artists throughout North America whose work seemed to show an especial interest in earthworks, visionary experiences, and/or nature. (Half of the artists selected were female artists, one-fourth were artists of self-identified Amerindian ancestry, and half had Canadian addresses.) Questions were asked of the artists concerning visionary experiences, paranormal experiences, life crises, religious background and current religious affiliation, among other things. The questionnaire return rate was 54.7% or 120 completed questionnaires. Subsequent interviews were conducted with 19 artists. The findings of the survey indicate that for most of the artists in the group--native and non-native alike, male and female alike--their visions and paranormal experiences inspire and authenticate their work as artists, work which they themselves believe to be "healing" and linked to the earth as sacred, a world in which they frequently encounter "sacred places," power centers, and other experiences of mana or kratophany. In very special ways, the artists feel themselves to be mediums for a sacred knowledge which they believe comes from nature, from the earth, from the energies of all life, of all time--but not from god or gods per se. The artists appear to perceive the world as a self-contained whole, a healing whole, and in their art they take part in that healing whole. Thus, the dissertation argues that the analogy of shaman as artist (artist as shaman) is a useful one to make to explicate the religious experiences of artists; that artists can be studied as a group using the statistical profile methods of social sciences; and that contemporary earthworks may constitute a hitherto unrecognized body of sacred art. If so, they are sacred places. WORKS CONSULTED The following list of articles, monographs, and interviews is divided into nine parts arranged under two major headings-- primary and secondary documents. Under the heading of primary documents is one subheading for the list of first- person statements by artists used in the study. Some are published articles and interviews. Others are artists' catalogue statements. Still others are unpublished interviews and letters, plus notes from telephone conversations and informal meetings. Under the heading of secondary documents are eight further subheadings arranged with the hope that the reader will find the subject listings helpful because the bibliography is both lengthy and interdisciplinary. Titles are not double-listed under different headings. Under art criticism will be found articles about contemporary art and artists, particularly with reference to earthworks, which were not written by the artists being discussed. Under shamanism, the reader can locate general writings on shamanism and neo-shamanism. Most of the titles listed are for cross-cultural and/or comparative studies. Tribal- specific studies of shamanism and individual profiles of shamans are also listed here, and studies of shamanism and "primitive" and/or archaic art forms. The listings for Amerindian traditions and culture comprise a variety of items, including visual arts, but omitting shamanism, having to do with the peoples of the first nations of North and South America. The psychology of art, creativity, and mysticism listings are, for the most part, Western-oriented contemporary studies of creativity in the visual arts, trance experiences, and psi phenomena. The religion and art listing includes studies which discuss the relationship of art to religion and studies concerned with the origin of religion (and/or art), especially those of the Old World paleolithic and neolithic eras. The listing also includes some general work in religious studies typology and "patterns" (Mircea Eliade's felicitiously chosen term) of religiosity. The section entitled topofilia includes studies of North American cultural geography, ecology, eco-theology and geo- piety. Studies of architectonic space, particularly with reference to contemporary North American culture and religions, are listed here also. The social sciences methodology section lists the how-to titles which guided the survey design (questionnaire and interviews), and the interpretation of the survey's findings. Finally, miscellany as a subsection heading is just what its title says--a catch-all list of reference books which I consulted from time-to-time. PRIMARY DOCUMENTS 1. Artist's Statements and Interviews Andre, Carl. Carl Andre. The Hague: Gemeentemuseum, 1969. Anonymous artist. Interview, by telephone, British Columbia, July 13, 1989. Baca, Lorenzo. Interview, by telephone, Sonora, California, July 30, 1989. Barrie, David. "Religion, Science, and Art," Apollo, vol.79, nr.327 (May 1989). pp.313-316. Bartow, Rick. Interview, by telephone, South Beach, Oregon, July 24, 1989. Bridges, Marilyn. "High Overview, Newark, Ohio, 1982," Aperture, issue 98 (Spring 1985). unpaged. ________. Markings: Aerial views of sacred landscapes. New York: Aperture Foundation, 1986. ________. "Serpent Mound, Adams County, Ohio, 1982," Aperture, issue 98 (Spring 1985). unpaged. Damon, Betsy. Interview, in-person, New York City, July 2, 1989. Dickson, Jennifer. Interview, in-person, Ottawa, July 5, 1989. "Discussions with Heizer, Oppenheim, Smithson," Avalanche, Fall 1970. pp.48-70. Dunn, Martin. Interview, in-person, Ottawa, June 26, 1989. Dwyer, Gary. "Mea Culpa, My Fault: A report on an earthwork in progress," Leonardo, vol. 19, nr.4 (1986). pp.285-287. ________. "The Power under our Feet: Mea Culpa (My Fault): A work in progress," Landscape Architecture, May/June 1986. pp.65-68. (Response: July/August 1986, p.9.) Edelson, Mary Beth. Seven Cycles: Public rituals. New York: Privately published, 1980. Endrezze, Anita. Interview, by telephone, Spokane, Washington, July 26, 1989. Fabo, Andy. Interview, in-person, Ottawa, June 17, 1989. Haacke, Hans. Earth. Ithaca: Andrew Dickson White Museum, Cornell University, 1969. Heizer, Michael. "Discussions with Heizer, Oppenheim, Smithson," Avalanche, issue 1 (Fall 1970). pp.24ff. ________. Michael Heizer. Essen: Museum Folkwang, 1979. Henes, Donna. Dressing Our Wounds. Los Angeles: Astro Artz, 1982. ________. Interview, in-person, Brooklyn, New York, July 19, 1989. Hompson, Davi Det (David Thompson). Richmond, Virginia. Personal communication, January 25, 1990. Hutchinson, Peter. "Earth in Upheaval: Earthworks and landscapes," Arts Magazine, November 1978. pp.19-21. ________. Interview, by telephone, Provincetown, Massachusetts, July 27, 1989. Janvier, Alex. Interview, in-person, Ottawa, June 25, 1989. _________. Personal communication, February 1989. Kiesler, Frederick. Inside the Endless House, Art, People, and Architecture: A journal. New York: Simon and Schuster, 1966. Lipke, William C. "Earth Systems," Earth Art. Ithaca, New York: Andrew Dickson White Museum of Art, 1969. unpaged. McCoy, Ann. Interview, in-person, New York City, July 20, 1989. Manly, Eva. Interview, in-person, Ottawa, July 6, 1989. Meadmore, Clement. "Thoughts on Earthworks, Random Distribution, Softness, Horizontality, and Gravity," Arts Magazine, February 1969. pp.26-28. Morris, Robert. "Statement by Robert Morris," The Arts (Earthworks): Newsletter of the King County Arts Commission, vol. 8, nr. 7 (July 1979). pp.1-6. Munro, Eleanor. "Art in the Desert," New York Times, December 7, 1986. pp.9, 38. Orion, Ezra. "Sculpture in the Solar System: From geologically based earthworks to astro-sculpture," Leonardo, vol.18, nr.3 (1985). pp.157-160. Pinto, Jody. Excavations and Constructions: Notes for the body/land. Philadelphia: Marian Locks Gallery, 1979. ________. Interview, in-person, New York City, July 21, 1989; by telephone, New York City, July 26, 1989. Ross, Charles. Interview, by telephone, Las Vegas, New Mexico, September 12, 1989. _________. Personal communication, August 2, 1990. ________. "Star Axis: Where the earth meets the sky." Unpublished prospectus, 1987, revised 1990. _________. The Substance of Light: Sunlight Dispersion, the Solar Burns, Point Source/Star Space: Selected work of Charles Ross, February 6-March 14, 1976. LaJolla, California: LaJolla Museum of Contemporary Art, 1976. ________. "Sunlight Convergence/Solar Burns," Co- Evolution Quarterly, Winter 1977-78. pp.104-107. Saad-Cook, Janet. "Touching the Sky: Artworks using natural phenomena, earth, sky, and connections to astronomy," Leonardo, vol.21, nr.2 (1988). pp.123-134. Schoppert, Jim. Interview, by telephone, Seattle, Washington, July 24, 1989. Simonds, Charles. "Microcosm to Macrocosm," Art Forum, February 1974. pp.36-39. ________. Three Peoples. Genoa, Italy: Samanedizioni, 1976. Sonfist, Alan. "Letters to the Editor," New York Times Magazine, December 10, 1989. p.18. Streeter, Tal. Interviews, by telephone, Milbrook, New York, September 17, 24, 1989. ________. Six Sculptors in America: Jacques Lipchitz, Louise Nevelson, Seymour Lipton, Jose de Rivera, Richard Stankiewicz, and John Chamberlain. Unpublished MFA thesis, University of Kansas, 1961. Taradash, Meryl. Interview, in-person, New York City, July 20, 1989. Turrell, James. Personal communication. Flagstaff, Arizona, March 24, 1989. Whiteside, Carla. Interview, in-person, Ottawa, July 12, 1989. SECONDARY DOCUMENTS 2. Art Criticism Abadie, Daniel. "Simonds: Life built to dream dimensions." Charles Simonds. Chicago: Museum of Contemporary Art, 1981. pp.31-34. Adcock, Craig. "Anticipating 19,084: James Turrell's Roden Crater Project," Arts Magazine, May 1984. pp.76-85. ________. "The Big Bad: A critical comparison of Mount Rushmore and modern earthworks," Arts Magazine, April 1983. pp.104-107. Alloway, Lawrence. "Robert Smithson's Development." In Art in the Land: A critical anthology of environmental art, ed. Alan Sonfist. New York: E.P. Dutton, 1983. pp.125-141. Amaya, Mario. "Land Reform: New monuments by Michael Heizer," Studio International, vol. 198, nr. 1009 (l985). pp.18-22. Baele, Nancy. "Inuit Artist Draws to Sell," Ottawa Citizen, July 7, 1990. p.G-3. Baker, Elizabeth C. "Artworks on the Land." In Art in the Land: A critical anthology, ed. Alan Sonfist. New York: E.P. Dutton, 1983. pp.73-84. Beardsley, John. Earthworks and Beyond. New York: Abbeville Press, 1989. ________. "On the Loose with the Little People: A geography of Simond's art." In Charles Simonds. Chicago: Museum of Contemporary Art, 1981. pp.26-30. ________. Probing the Earth: Contemporary land projects. Washington: Smithsonian Institution Press, 1977. ________. "Traditional Aspects of New Land Art," Art Journal, Fall 1982. pp.226-232. Bletter, Rosemarie Haag. "Global Earthworks," Art Journal, Fall 1982. pp.222-225. Brenson, Michael. "Sculpture for Troubled Places," New York Times, October 15, 1989. sec.2, pp.1,42. Castle, Ted. "Nancy Holt, Siteseer," Art in America, March 1982. pp.84-91. Chafee, Katherine Smith. "Charles Ross," Artspace, Fall 1981. pp.24-27. Christ, Ronald. "Masks, Tents, Vessels, Talismans: The Institute of Contemporary Art, University of Pennsylvania, Dec.5, 1979-Jan.13, 1980," artscanada, April/May 1980. pp.46-47. Clay, Grady. "King County's Earthworks Symposium Breaking New Ground with Land Reclamation as Sculpture," The Arts (Earthworks): Newsletter of the King County Arts Commission, vol.8, nr.7 (July 1979). pp.1-6. Crone, Rainer. "Prime Objects of Art: Scale, Shape, Time," Perspecta, issue 19. pp.1 4-35. Dalton, Deborah W. "Still Life in Quarry," Landscape Architecture, May/June 1985. pp.66-69. Dancer, Daniel. "In Concert with Nature," Southwest Art, issue 16 (January 1987). p.84. Davies,Peter and Tony Knipe, eds. A Sense of Place: Sculpture in the landscape. Tyne and Wear, England: Ceolfrith Press, 1984. Deitch, Jeffrey. "The New Economics of Environmental Art." In Art in the Land: A critical anthology of environmental art ed. Alan Sonfist. New York: E.P. Dutton, 1983. pp.85-91. Dotson, Esther Gordon. "Shapes of Earth and Time in European Gardens," Art Journal, Fall 1982. pp.210-216. Dwan, Virginia. "Reflections on Robert Smithson," Art Journal, Fall 1982. p.232. Eaton, Linda B. "Nora Naranjo-Morse: Santa Clara sculptor." A Separate Vision. Flagstaff, Arizona: Museum of Northern Arizona, Plateau, vol. 60, nr. 1, 1989. Evans, Karen. "Walking through Rainbows: A new trip at the San Francisco Airport," Image, May 10, 1987. p.29. Fry, Edward. Robert Morris/Projects. Philadelphia: Institute of Contemporary Art, 1974. Fuller, Peter. "Carl Andre," Art Monthly, issue 16/17 (1978). pp.5-11. Gablik, Suzi. "Making Art as if the World Mattered," Utne Reader, issue 34 (July/August 1989). pp. 71-76. Gadon, Elinor W. The Once and Future Goddess: A symbol for our time. San Francisco: Harper & Row, 1989. Geierhaas, Franz and Birgitte Hellgoth. The Creative Act: Paths to realization/interviews with 15 artists. New Hope, Pennsylvania: International Print Society, 1984. Gilbert-Rolfe, Jeremy. "Sculpture as Everything Else, Twenty Years or So of the Question of Landscape," Arts Magazine, January 1988. pp.71-75. Gill, Brendan. "A Sculptor's Obsession in Upstate New York," Architectural Digest, issue 46 (March 1989). pp.46-54. Goldwater, Robert. Primitivism in Modern Art (1938). New York: Vintage Books, 1967. Gopnick, Adam. "Basic Stuff: Robert Smithson, science, and primitivism," Arts Magazine, March 1983. pp.74-88. Grundberg, Andy. "As it must to all, death comes to post- modernism," New York Times, September 16, 1990, pp.H-47, 52. Hall, Carol. "Environmental Artists: Sources and Directions." In Art in the Land: A critical anthology of environmental art, ed. Alan Sonfist. New York: E.P. Dutton, 1983. pp.8-59. Hall, James. "Landscape Art: Public art or public convenience," Apollo, vol. 79, nr.325 (March 1989). pp.157-222. Hapgood, Fred. "Roden's Eye," Atlantic Monthly, August 1987. pp.46-52. Hobbs, Robert. "Editor's Statement: Earthworks, past and present," Art Journal, Fall 1982. pp.191-194. House, Dorothy. Roden Crater. Flagstaff, Arizona: Museum of Northern Arizona, 1988. Hughes, Robert. The Shock of the New: Art and the century of change. London: British Broadcasting Corporation, 1980. Johnson, Jory. "Presence of Stone," Landscape Architecture, July/August 1986. pp.64-69. Johnson, Yankee. "Earthworks: Combining environmental and land issues," The Arts (Earthworks): Newsletter of the King County Arts Commission, vol. 8, nr. 7 (July 1979). pp.1-6. Kantrowitz, Barbara and Karen Springen. "Glass, Steel, and Sunlight: The `solar sculptures' of Dale Eldred," Newsweek, May 15, 1989. p.69. Kelley, Jeff. "Light-Years," Art Forum, November 1985. pp.73-75. Kimmelman, Michael. "Getting to the Heart of an Image's Power," New York Times, October 29, 1989. sec.H, pp.37, 43. Kluesing, Cherie. "Site Artists: The role of outsiders in landscape design," Landscape Architecture, issue 78 (April/May 1988). pp.120ff. Kuspit, Donald B. "Caves and Temples," Art in America, April 1982. pp.129-33. ________. "Charles Ross: Light's measure." In Art in the Land: A critical anthology of environmental art, ed. Alan Sonfist. New York: E.P. Dutton, 1983. pp.159-168. ________. "The Pascalian Spiral: Robert Smithson's drunken boat," Arts Magazine, October 1981. pp.82-88. Langager, Craig. "Getting a Symposium off the Ground: A process in itself," The Arts (Earthworks): Newsletter of the King County Arts Commission, vol. 8, nr.7 (July 1979). pp.1-6. Leavitt, Thomas W. "Foreword," Earth Art. Ithaca, New York: Andrew Dickson White Museum of Art, 1969. unpaged. LeVeque, Terry Ryan. "Nancy Holt's `Sky Mound': Adaptive technology creates celestial perspectives," Landscape Architecture, issue 78 (April/May 1988). pp.82, 85- 86. Levin, Gail. "American Art." In Primitivism in 20th Century Art: Affinity of the tribal and the modern, ed. William Rubin. New York: Museum of Modern Art, 1984. pp.453-474. Levy, Mark. "The Shaman is a Gifted Artist: Shamanism in the work of Yves Klein, Joseph Beuys, Mary Beth Edelson, and Karen Finley," High Performance 43, vol. 11, nr.3 (Fall 1988). pp.54-67. Lippard, Lucy R. "Fire and Stone: Politics and ritual." In Seven Cycles: Public rituals, by Mary Beth Edelson. New York: Mary Beth Edelson, 1980. pp.6-9. ________. Overlay: Contemporary art and the art of prehistory. New York: Pantheon Books, 1983. McEvilley, Thomas. "Art in the Dark," Art Forum, Summer 1983, pp.62-71. (Responses: Art Forum, October 1983, pp.2-4.) Malone, Maggie. "The Great Outdoors: No more giant sculptures plopped in plazas," Newsweek, October 23, 1989. pp.76-79. Mansbach, S.A. "An Earthwork of Surprise: the 18th- century ha-ha," Art Journal, Fall, 1982. pp.217- 221. Massie, Sue. "Timeless Healing at Buffalo Rock," Landscape Architecture, May/June 1985. pp.70-71. Miller, Naomi. Heavenly Caves: Reflections on the garden grotto. New York: George Braziller, 1982. Molderings, Herbert. Charles Simonds: Floating Cities and Other Architectures. Munster, Germany: Westfalischer Kunstverein, 1978. Munro, Eleanor. "Art in the Desert," New York Times, December 7, 1986. p.38. Neff, John Hallmark. "Charles Simonds' Engendered Places: Towards a biology of architecture." In Charles Simonds, John Hallmark Neff, et al. Chicago: Museum of Contemporary Art, 1981. pp.12-25. ________. "Commentaries." In Charles Simonds, John Hallmark Neff, et al. Chicago: Museum of Contemporary Art, 1981. pp.68-72. ________, John Beardsley, and Daniel Abadie. Charles Simonds. Chicago: Museum of Contemporary Art, 1981. Piper, David, ed. "Land and Earth Art." In RandomHouse Library of Painting & Sculpture, vol. 3. New York: Random House, 1981. pp.248-249. Ranney, Edward. "Excavating the Present," Aperture, issue 98 (Spring 1985). pp.42-47. Rickey, Carrie. "Naive Nouveau and its Malcontents," Flash Art, issue 98/99 (Summer 1980). pp.36-39. Rodiger-Diruf, Erika. "Ausstellung: Zuruck zur Natur, aber wie?" Du, issue 6 (1988), pp.78-86. Rosenthal,Mark. "Some Attitudes of Earth Art: From competition to adoration." In Art in the Land: A critical anthology of environmental art, ed. Alan Sonfist. New York: E.P. Dutton, 1983. pp.60-72. Roos, Sandra. "Women's Imagery/Women's Art." In Women's Culture: The women's renaissance of the seventies. Metuchen, New Jersey: Scarecrow Press, 1981. pp.42-59. Rubin, William. "Modernist Primitivism: An introduction." In Primitivism in 20th Century Art: Affinity of the tribal and the modern, ed. William Rubin. New York: Museum of Modern Art, 1984. pp.1-81. Russell, John. "James Turrell (1986)," Reading Russell: Essays 1941-1988 on ideas, literature, art, theatre, music, places, and persons. New York: Harry N. 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Chicago: Encyclopaedia Britannica, 1981. ===================================================================== The Religious Studies Publications Journal - CONTENTS 1992 Volume 1.039 Dissertation Bibliography ISSN 1188-5734 ===================================================================== New Bibliography Available One of the objectives of the CONTENTS Project is to compile a freely accessible collection of bibliographies of interest to any of the areas of study within religious studies. The CONTENTS Project encourages those who have bibliographies that would be of interest to researchers to make these available to others by submitting them for placement on the CONTENTS fileserver. Authors of major papers, thesis, dissertations and manuscripts should consider making their bibliographies freely available to the academic community. Compilers retain the full copyright to their work. Our intent is simply to provide a cost free method of dissemination of research material. 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